With a flurry of new network series set to debut starting this week and continuing well into next year, prime-time TV, that mirror on both the national imagination and the national self-image, is about to reflect more of America than usual.

On the basis of numbers alone, ABC seems to have the season’s hot hand. The network takes point with no fewer than six series with either black and minority themes or lead stars. ”Black-ish,” a new ABC comedy series, promises to push the envelope on depiction of black life in America. Anthony Anderson (Guys With Kids) stars as Andre Johnson, a rising ad executive just promoted to senior vice president at the ad agency he works at. Tracee Ellis Ross co-stars as his wife, a successful doctor. They enjoy the trappings of success — kids, a sumptuous home, upscale neighborhood — even as they navigate the conflicting challenges of cultural identity and assimilation as African Americans in the 21st century. The show, executive produced by Anderson and Laurence Fishburne, debuts Sept. 24.

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ABC will also present ”How to Get Away With Murder,” the latest from the hit machine of Shonda Rhimes, creator of “Grey’s Anatomy” and “Scandal.” In the series created by Peter Nowalk and exec-produced by Rhimes, Oscar nominee Viola Davis (“The Help”) stars as a college professor who becomes embroiled in murder cases, with her students, in unexpected ways. The show bows on Thursday, Sept. 25, in scheduling that will effectively make Thursday Shonda Rhimes Night on ABC (“Murder” will follow “Grey’s Anatomy” and “Scandal,” broadcast earlier the same night).

ABC’s ”American Crime,” an ensemble drama to be written, produced and directed by Oscar winner John Ridley (“12 Years a Slave”), will dig deep into the lives of people caught up in in a high-profile trial with racial overtones after an incident in Modesto, Calif., upends their lives. It’s about as topical a TV show as you could ask for in a nation still grappling with the racial trauma of Ferguson, Mo.

OTHER NETWORKS are part of the panorama. Alfre Woodard is the president of the United States in NBC’s “State of Affairs,” the Alexi Hawley drama that also stars Katherine Heigl, as a CIA analyst tasked with keeping the president abreast of what’s hot and not around the world. The series debuts on the Peacock Network on Nov. 17.

Craig Robinson, a mainstay of The Office, will star in ”Mr. Robinson,” an NBC comedy, portraying a music teacher who rides herd over students at a middle school.

Michael Che (formerly with “The Daily Show With Jon Stewart” was just tapped to join “Weekend Update” on NBC’s Saturday Night Live, the first black co-anchor for the popular SNL segment since the show’s 1975 debut.

And TV comedy veteran Bill Cosby is plotting a return to TV with a new prime-time NBC comedy, which the network described for The Hollywood Reporter as “a classic, big, extended family sitcom.” Cosby is to star as the family patriarch and the father of three grown daughters with children — the template for what sounds like a more mature version of “The Cosby Show,” the hit NBC program that helped revitalize the sitcom genre in the 1980’s. Pending the right scripts, the show could be up and running by the summer or fall of 2015, THR reported.

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Oscar winner Octavia Spencer (“The Help”) stars as a hardcase nurse presiding over a ward of precocious teenage patients in a Los Angeles hospital. Fox’s “Red Band Society,” the dark dramedy adaptation of a Spanish TV series, starts its run on Wednesday, Sept. 17.

Taraji P. Henson (“Person of Interest”), Terrence Howard (“Hustle and Flow”) and Gabourey Sidibe (“Precious”) will headline “Empire,” a family drama on the rise of a hip-hop mogul. The pedigree is solid: Created by Lee Daniels (director of “The Butler”), the Fox series debuts in the spring of 2015, with Daniels, Danny Strong (“Game Change,” “The Butler”) and Brian Grazer (“Get On Up”) at the helm.

And even that relatively monochromatic late-night world is about to get a makeover. Starting in January, Larry Wilmore, once the “Senior Black Correspondent” for “The Daily Show With Jon Stewart,” helms his own Comedy Central show. “The Minority Report With Larry Wilmore” will go head-to-head with “The Tonight Show With Jimmy Fallon” and CBS’ “Late Show” as soon to be reconfigured under Stephen Colbert.

Add these to the mix of strong continuing lead and supporting roles for minorities in proven hits like CBS’s “Extant,” NBC’s “The Blacklist” and “Chicago Fire,” Fox’s “Sleepy Hollow” and “The Mindy Project,” and new shows like CBS’ latest, New Orleans-based “NCIS” spinoff (debuting Sept. 23).

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FOR ONE veteran television watcher, it all means progress in more than baby steps, maybe. “The progress has been on a lazy upward slope,” said Robert J. Thompson, Trustee Professor of Television and Popular Culture at the S.I. Newhouse School of Public Communications at Syracuse University. “It’s certainly better than it was in the beginning — when we had ‘Amos and Andy’ and ‘Beulah’ — and certainly better than it was when the NAACP made its first report on the media in 1999.”

Thompson referred to the landmark report documenting the great divide between TV networks and the increasingly diverse American demographic they served. That report led to a watershed agreement with networks to advance prospects for minorities in writing, producing and acting in network television.

“After that report, the immediate impact was that networks hired vice presidents of diversity,” said Thompson, the founding director of the Bleier Center for Television and Popular Culture. “What else did they do? They introduced a black girlfriend to Ross on ‘Friends.’”

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“Look at some of the most successful shows — “Roots,” “The Cosby Show” ... This idea that diverse programming is somehow going out on a limb is not rational. But it isn’t a rational business, so that allows our superstitions to prevail. The entertainment business can be amenable to our old prejudices.”

This time may be different. Despite the entertainment industry being the risk-averse captive of the first law of entertainment thermodynamics — Follow What’s Worked Before — the rise of Rhimes, Ridley, Hart, Anderson, Fishburne and others in front of the camera and behind it (like Halle Berry, who executive-produces “Extant”) are, for Thompson, a welcome break with the past.

“The key was always that, if you’re going to solve the problem of monolithically similar programming, you need to diversify the people running the industry,” he said. “You’ve got to have diversity in the executive rooms. The 2014-15 season is shaping up to be a watershed year. I don’t know why it’s taken so long.”As previously published at BuzzFeed. Image credits: 'Black-ish,' 'American Crime' title card images, ABC logo: ABC. 'Saturday Night Live' title card: NBC Studios/Broadway Video. 'Empire' title card: Fox.

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A veteran journalist, producer and blogger, Michael Eric Ross is a frequent contributor to the content channels of Jerrick Media, and a periodic contributor to TheWrap, a major online source of entertainment news and analysis. He writes from Los Angeles on the arts, politics, race and ethnicity, and pop culture. A graduate of the University of Colorado, he's worked as a reporter, editor and critic at several newspapers and websites, including The New York Times, the San Francisco Chronicle, the San Jose Mercury News, MSN, Current and NBCNews.com. He was formerly an adjunct professor at the Columbia University Graduate School of Journalism. His writing has appeared in The New York Times Book Review, Wired, Entertainment Weekly, PopMatters, Salon, The Root, seattlepi.com, NPR.com, theGrio, BuzzFeed, Medium and other publications. Author of the novel Flagpole Days (2003); and essay collections Interesting Times (2004) and American Bandwidth (2009), he contributed to the anthologies MultiAmerica (edited by Ishmael Reed, 1997) and Soul Food (2000).